Posts Tagged ‘networks’

Super Bowl 50 Breaks Streaming Record for the Big Game but Doesn’t Match Yahoo’s NFL Livestream

February 8, 2016  |  Media Week  |  No Comments

Super Bowl 50 was the most-streamed Super Bowl game ever, but it didn't break the NFL's own livestreaming record. As it announced this year's Super Bowl audience— 111.9 million, the third highest in Super Bowl history —CBS said its livestream of Sunday's game averaged 1.4 million viewers per minute. That represents a Super Bowl record for livestreaming. The 2015 game averaged 800,000 per minute for NBC. Fox's stream averaged 528,000 viewers in 2014, while CBS had 508,000 in 2013. NBC drew 346,000 viewers for the first livestream of a Super Bowl in 2012. However, the 1.4 million average was less than the audience Yahoo drew in October for the first exclusive livestream of an NFL game, which unlike the Super Bowl was not available on TV. An average of 2.36 million people worldwide—1.64 million of those in the U.S.—streamed the Buffalo Bills-Jacksonville Jaguars game, which took place in London. CBS said 3.96 million unique viewers watched Super Bowl 50 across all devices, including CBSSports.com on PCs and tablets; the CBS Sports app for iPad, Android, Windows 10, Amazon Fire, Apple TV, Chromecast, Roku and Xbox One; and NFL Mobile from Verizon

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In Final Days Before the Super Bowl, CBS Is Still Finishing Up Its In-Game Ad Sales

February 4, 2016  |  Media Week  |  No Comments

Super Bowl 50 is only days away, but it's not too late for an advertiser to squeak into the game. CBS is still speaking with marketers about 30-second spots and might not finish those talks until hours before kickoff. "We're almost to the finish line," said Jo Ann Ross, CBS president of network sales. "We might have a two-point conversion coming soon." The last-minute strategy is part of Les Moonves' plan to wring the most money out of the network's Super Bowl ads, which sold for as much as $5 million per 30-second spot. In December, Moonves— who was named CBS Corp. chairman Wednesday, replacing Sumner Redstone —told investors that the network was holding back a few of its 30-second Super Bowl spots so it could sell them in the days before the game to advertisers who were desperate to get into the telecast. While "we could close it out tomorrow if we wanted," Moonves said at the time, the network was looking to fetch "north of $5 million a spot" shortly before Super Bowl Sunday.

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Les Moonves Is Named Chairman of CBS, Replacing Sumner Redstone

February 3, 2016  |  Media Week  |  No Comments

Les Moonves, CBS Corp.'s CEO and president, has been named chairman of the company. He replaces the ailing Sumner Redstone, who resigned Tuesday as executive chairman, but will remain as chairman emeritus. Moonves, who joined CBS in 1995 as CBS Entertainment president, was unanimously elected by the CBS board after being nominated by Shari Redstone, Sumner Redstone's daughter and vice chair of the board. Moonves will continue on as CEO and president. Redstone, who is 92, also served as executive chairman of Viacom (when CBS and Viacom split in 2005, he was chairman of both companies), but there is no word yet about his future at that company. UPDATE: "The Viacom board of directors is scheduled to meet tomorrow," Viacom said in a statement late Wednesday afternoon

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How Jon Stewart Is Still Making an Impact on Late-Night TV

February 2, 2016  |  Media Week  |  No Comments

If you're lamenting Jon Stewart's departure from The Daily Show last August and wishing he was still a presence in late night, your wish has come true. In the end, Stewart's late-night hiatus didn't even last a month: the former host has been an important force on The Late Show with Stephen Colbert, where he serves as one of the show's four executive producers, Colbert told Adweek during his interview for this week's cover story . While Stewart's inclusion as a Late Show executive producer was a surprise reveal on The Late Show with Stephen Colbert's Sept. 8 debut , his exact role on the show had remained unclear, until now. Colbert said Stewart has been a part of his Late Show plans since April 10, 2014, when CBS first revealed that Colbert would leave The Colbert Report and take over the show after David Letterman's retirement. "The minute it was announced that I was going to be the new host, that day, he called me up to congratulate me and I said, 'Thank you. Would you come help with the show and be an executive producer?'" said Colbert. "I had many motivations for that. One is I'm very grateful to Jon for everything I learned from him at The Daily Show and for him putting his weight behind my last show [The Colbert Report] getting on the air and helping us with that show. I wouldn't have this position if it hadn't been for what Jon did for me. So on one level it's gratitude and loyalty to Jon," said Colbert. "But on another level, he's been immensely helpful, because he's also a real consultant. As a matter of fact, the reason this interview started late is that I have not had a moment for him to download his thoughts to me. We were talking about ways to open up the show, how to make it more play, less planned

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Grease Live Draws 12.2 Million Viewers, Making Fox’s First Live Musical a Hit

February 1, 2016  |  Media Week  |  No Comments

Fox has chills, and they're multiplying. That's because Grease Live, the network's first foray into the live musical genre that NBC has owned since 2013, was a huge success for the network Sunday night. Grease Live attracted 12.2 million viewers and a 4.3 rating among adults ages 18 to 49, according to preliminary Nielsen numbers. That tops the 11.5 million viewers and 3.4 demo rating for NBC's The Wiz Live in December and comes close to the numbers for NBC's biggest live musical: 2013's The Sound of Music Live, which drew 18.6 million total viewers and a 4.6 rating in the demo. The show was particularly strong among younger viewers, with a 3.7 rating in adults 18-34 and teens. The teen rating was 23 percent higher than Sound of Music's numbers, Fox noted. (While the network has stopped reporting live-plus-same-day ratings , it makes exceptions for live events like Grease.) The ratings are also good news for Coca-Cola, which sponsored Grease Live with period-appropriate integrations and also ran three spots during the show. Grease Live's success is one last win for former Fox chief Kevin Reilly, who green-lit the musical in April 2014, less than two months before he stepped down. "The truth is, Grease was ordered before we came to the network. We were thrilled with it and embraced it," Gary Newman, co-CEO and co-chairman of Fox Television Studios, told Adweek last month. While there were plenty of questions leading up to last night's musical—How would the rainstorm pelting Los Angeles impact the show, part of which was set on the Warner Bros. backlot? Would Vanessa Hudgens, who played Rizzo, be able to carry on after the tragic death of her father a day earlier?—audiences were most dazzled by the technical wizardry of director Thomas Kail, who also helmed the Broadway sensation Hamilton. The show had 1.2 million tweets, with the most-tweeted minute occurring at 8:31 p.m. ET, after Boyz II Men sang "Beauty School Dropout." The most TiVo'd moment came at 9:26 p.m., when Sandy (played by Julianne Hough) stands up for Rizzo, who sings "There are Worse Things I Could Do." In addition to Kail's euphoric camera work, the show was given an energy boost by the inclusion of a live audience, which have not been a part of NBC's musicals. "It's just one of the ideas we are doing to sort of burst open the genre of a live television musical," said executive producer Marc Platt. The production took over two soundstages and half of the Warner Bros. backlot, where the finale's carnival scene took place

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Brands Can Now Find Out in Real Time How Many People Watch Their TV Ads. Here’s How

January 25, 2016  |  Media Week  |  No Comments

Advertisers won't have to wait hours or days after this year's Super Bowl to find out how many people watched their spots during the Big Game. TV ad tracking company iSpot.tv has rolled out a new set of metrics that will offer brands real-time data on view rates, impressions and unduplicated reach for their ads. The service, which has tracked ad activity for three years, now provides this data for national and local ads watched on TV screens whether they're viewed live, time shifted, or via VOD or OTT. With all the changes in how audiences watch TV, "more and more ads are becoming decoupled from the programs themselves, and a lot of brands and networks are starting to move towards audience-based buying," said Sean Muller, iSpot.tv founder and CEO. "On top of that, digital has taught brands the power of being responsive with their media in general. So now, brands are really trying to become more responsive with television." The company is utilizing technology embedded into the firmware of 10 million TV sets in the U.S. that detects any kind of content, including ads, on the screens. iSpot.tv tags ads in its commercial catalog using fingerprint technology and tracks them on the screen with ACR, or automatic content recognition, no matter what kind of device is connected to the television

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As NBA Moves Into Prime Time, ABC Hopes to Turn Sleepy Saturday Night Into a Slam Dunk

January 22, 2016  |  Media Week  |  No Comments

Once the domain of true crime series and procedural drama reruns, Saturday nights are suddenly getting a lot more competiteve on broadcast TV. The networks have seen ratings hits with everything from college football to late-season NFL games, NASCAR, premier boxing and UFC bouts—all of them live. Now ABC is adding to the mix, bringing the NBA to a once-sleepy prime time weekend night. This weekend, ABC tips off the first of eight Saturday night NBA telecasts , the first national prime time package for the league on broadcast television. "The NBA really lends itself to prime time," said Julie Sobieski, vp of programming for ESPN, which produces the games for ABC. Aside from the Finals, this is peak NBA: when the NFL season draws to a close, major league baseball is still in hibernation, and the top NBA teams shake off the also-rans. "It was a logical opportunity to extend that franchise deeper into the year," said Sobieski. A Saturday night game sandwiched between ESPN's Friday doubleheaders and ABC's Sunday Showcase gives the Worldwide Leader a chance at "owning the weekend," said Sobieski. In addition to ESPN's regular Wednesday and Friday games, ABC will air three to five games per month on weekends. When adding in Turner and NBA TV's national games, the NBA will be on national TV nearly every night. But Sobieski isn't worried about saturation. "We don't have that concern," she said, adding, "There are more and more teams that resonate nationally each year." And ABC's Saturday nights will be all about the star power. This weekend, LeBron James and the Cleveland Cavaliers host Derrick Rose and the Chicago Bulls, with other marquee teams such as the defending champion Golden State Warriors, Los Angeles Clippers and San Antonio Spurs featured multiple times. "Fans are going to come to the best games. It starts with that," said Sobieski. ESPN will brand the Saturday and Sunday packages as separate entities; La Quinta has signed on as the title sponsor for NBA Saturday Primetime on ABC, while the Sunday games will continue to be branded as NBA Sunday Showcase and sponsored by BBVA

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Broadcast TV Is Still Outpacing Netflix’s Top Shows by Millions of Viewers Per Episode

January 21, 2016  |  Media Week  |  No Comments

Hit streaming shows on Netflix and Amazon may seem to be pulling huge audiences, but they're still lagging far behind TV's top programs, according to data obtained exclusively by Adweek. Multiplatform measurement firm Symphony Advanced Media—whose data was recently used by NBC as evidence the network was staying well ahead of Netflix—has released a new round of viewership stats showing the biggest shows in streaming still don't measure up to broadcast's top series. Symphony's VideoPulse measurement tool looked at the average 18- to 49-year-old audience per episode within the first 35 days of broadcast, and includes DVR, on-demand and streaming data in addition to live viewing. While some of this data was shared by NBCU ratings guru Alan Wurtzel last week , the data released today offers a more complete picture of the 18-49 audience last fall per episode on Netflix, Hulu, Amazon and Crackle's original series. Here's how many people watched each episode of top streaming shows over a 35-day period this past fall, according to Symphony: Marvel's Jessica Jones (Netflix): 4.81 million* Master of None (Netflix): 3.92 million Narcos (Netflix): 3.21 million** The Man in the High Castle (Amazon): 2.12 million* Wet Hot American Summer: First Day of Camp (Netflix): 832,000** Transparent (Amazon): 653,000*** Orange is the New Black (Netflix): 644,000** Hemlock Grove (Netflix): 597,000 Dinotrux (Netflix): 534,000** Casual (Hulu, ongoing series): 491,000 The Hotwives of Las Vegas (Hulu, ongoing series): 336,000 Longmire (Netflix): 139,000 The Art of More (Crackle): 80,000* Bojack Horseman (Netflix): 64,000** Project Mc2 (Netflix): 42,000** * These titles were released later in fall, so the measurement reflects between 31 and 35 days of viewing. ** These titles were released before Sept. 1, when Symphony's measurement began, so the data reflects viewing between Sept. 1 and Oct. 6. *** Measurement only includes 21 days of episode 1 (released Nov. 30), and 10 days for the other nine episodes (released on Dec. 11). Symphony's data shows the continued resilience of Netflix's summer hits like Wet Hot American Summer and Orange is the New Black, which outrated "new" Hulu programming, even though they premiered months earlier. Narcos premiered Aug. 28, just a few days before VideoPulse's measurement began

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Symphony Brushes Off Netflix Attacks on Its Ratings Metrics

January 19, 2016  |  Media Week  |  No Comments

If Netflix was hoping to intimidate Symphony Advanced Media into submission when it blasted the company's data —which, for the first time, revealed how many viewers are watching Netflix's original series —it is going to have to switch to Plan B. Symphony Advanced Media told Adweek today it is standing by its metrics, which Netflix's chief content officer Ted Sarandos derided as "remarkably inaccurate data" that "doesn't reflect any sense of reality of anything that we keep track of." Despite Sarandos' scoffing, "we have confidence in our data," said Laura Bernstein, Symphony's svp of client solutions. She said that Symphony's multiplatform measurement tool, VideoPulse, also measures broadcast and cable programming, and the company's partners and clients—which include NBCUniversal, A+E Networks and Viacom—have said Symphony's numbers echo the data they receive from other ratings sources like Nielsen. "There's some variation—there's different methodologies to data collection—but for the most part, we're very in line with other published numbers and with what our clients would expect. So our methodology is where people would want it to be on the broadcast and cable, where there is a comparison, which gives us a lot of confidence in what we're seeing in the streaming originals," said Bernstein. NBC kickstarted Symphony's battle with Netflix last Wednesday, when NBCUniversal's ratings guru Alan Wurtzel shared Symphony's Netflix data with reporters during the Television Critics Association's winter press tour. Wurtzel claimed Netflix doesn't yet pose a "consistent" threat to broadcasters. To make his point, Wurtzel incorporated data from Symphony Advanced Media, which has been tracking Netflix ratings metrics for the notoriously tight-lipped streaming service with VideoPulse, the multiplatform measurement tool Symphony unveiled last September . (Symphony does that by using automatic content recognition, or ACR, software embedded on a mobile app to recognize and match a program's audio files, as well as URL matches for streamed content. The company also sends a targeted survey to its panelists twice a week, asking which platform they watched specific programs on, to determine whether a show like Quantico was viewed via Hulu, VOD, ABC.com or DVR.) Among the Symphony data that Wurtzel shared: Each episode of Marvel's Jessica Jones averaged 4.8 million viewers in the 18-49 demographic within 35 days of its November premiere. Master of None drew 3.9 million in the demo and Narcos was third with 3.2 million. Sarandos returned fire on Sunday, blasting Symphony's methodology and data. "It's a bold statement for them to make," said Bernstein of the company's response. "We've never had a conversation with Netflix, so I'm not even familiar with what they know of our methodology." And while Sarandos argued that the 18-49 demo "means nothing" to Netflix, Symphony counters that the demographic is in fact incredibly important to the industry. "It's the demo that matters to the people who are selling advertising, so I do think that makes it an important demo," she said.

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Why Univision Just Bought a Fake News Website

January 19, 2016  |  Media Week  |  No Comments

In news that could have been straight out of The Onion itself, Univision has purchased a stake in the satirical news outlet. Terms of the deal were not disclosed. The top Spanish-language broadcaster in the U.S. has bought as much as a 40 percent stake in The Onion Inc., the parent company of The Onion, StarWipe, ClickHole and (real) pop culture site The A.V. Club, with the option to buy it outright. The company will continue to operate independently in Chicago. "Comedy is playing an expanding role in our culture as a vehicle for audiences to explore, debate, and understand the important ideas of our time," said Isaac Lee, chief news and digital Officer of Univision and CEO of Fusion. "It has also proven to be an incredibly engaging format for millennial audiences, and is expected to play a key part in the 2016 presidential election process via our robust content offerings in Spanish and English." While on the surface it appears odd that a long-time trusted real news outlet would buy a fake news website, The Onion has been able to court a young, millennial audience, reaching about 25 million unique visitors each month. The company has also created a successful branded content wing , Onion Labs, which accounts for the majority of its revenue. And with the political season upon us–Hispanic voters are among the most sought-after demographic by candidates–The Onion has been hitting both sides of the aisle hard with articles like Rubio Refutes Claim He Soft On Immigration By Dragging Undocumented Worker He Knocked Out Cold Onto Stage and Out-Of-Control Hand Gesture Sends Bernie Sanders Tumbling Off Stage. With their audience on television skewing older–rival Spanish broadcaster Telemundo has been gaining steam among the younger demo–Univision has attempted to broaden its scope. Its partnership with Disney on the television network Fusion has made little if any dent in the marketplace; Disney is reportedly looking to sell its stake. This also follows Univision's acquisition of African American-themed website The Root last year, as the company looks to finally launch its much-delayed IPO.

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